Written by
Robert William Service |
Smith, great writer of stories, drank; found it immortalized his pen;
Fused in his brain-pan, else a blank, heavens of glory now and then;
Gave him the magical genius touch; God-given power to gouge out, fling
Flat in your face a soul-thought -- Bing!
Twiddle your heart-strings in his clutch. "Bah!" said Smith, "let my body lie
stripped to the buff in swinish shame,
If I can blaze in the radiant sky out of adoring stars my name.
Sober am I nonentitized; drunk am I more than half a god.
Well, let the flesh be sacrificed; spirit shall speak and shame the clod.
Who would not gladly, gladly give Life to do one thing that will live?"
Smith had a friend, we'll call him Brown; dearer than brothers were those two.
When in the wassail Smith would drown, Brown would rescue and pull him through.
When Brown was needful Smith would lend; so it fell as the years went by,
Each on the other would depend: then at the last Smith came to die.
There Brown sat in the sick man's room, still as a stone in his despair;
Smith bent on him his eyes of doom, shook back his lion mane of hair;
Said: "Is there one in my chosen line, writer of forthright tales my peer?
Look in that little desk of mine; there is a package, bring it here.
Story of stories, gem of all; essence and triumph, key and clue;
Tale of a loving woman's fall; soul swept hell-ward, and God! it's true.
I was the man -- Oh, yes, I've paid, paid with mighty and mordant pain.
Look! here's the masterpiece I've made out of my sin, my manhood slain.
Art supreme! yet the world would stare, know my mistress and blaze my shame.
I have a wife and daughter -- there! take it and thrust it in the flame."
Brown answered: "Master, you have dipped pen in your heart, your phrases sear.
Ruthless, unflinching, you have stripped naked your soul and set it here.
Have I not loved you well and true? See! between us the shadows drift;
This bit of blood and tears means You -- oh, let me have it, a parting gift.
Sacred I'll hold it, a trust divine; sacred your honour, her dark despair;
Never shall it see printed line: here, by the living God I swear."
Brown on a Bible laid his hand; Smith, great writer of stories, sighed:
"Comrade, I trust you, and understand. Keep my secret!" And so he died.
Smith was buried -- up soared his sales; lured you his books in every store;
Exquisite, whimsy, heart-wrung tales; men devoured them and craved for more.
So when it slyly got about Brown had a posthumous manuscript,
Jones, the publisher, sought him out, into his pocket deep he dipped.
"A thousand dollars?" Brown shook his head. "The story is not for sale, " he said.
Jones went away, then others came. Tempted and taunted, Brown was true.
Guarded at friendship's shrine the fame of the unpublished story grew and grew.
It's a long, long lane that has no end, but some lanes end in the Potter's field;
Smith to Brown had been more than friend: patron, protector, spur and shield.
Poor, loving-wistful, dreamy Brown, long and lean, with a smile askew,
Friendless he wandered up and down, gaunt as a wolf, as hungry too.
Brown with his lilt of saucy rhyme, Brown with his tilt of tender mirth
Garretless in the gloom and grime, singing his glad, mad songs of earth:
So at last with a faith divine, down and down to the Hunger-line.
There as he stood in a woeful plight, tears a-freeze on his sharp cheek-bones,
Who should chance to behold his plight, but the publisher, the plethoric Jones;
Peered at him for a little while, held out a bill: "NOW, will you sell?"
Brown scanned it with his twisted smile: "A thousand dollars! you go to hell!"
Brown enrolled in the homeless host, sleeping anywhere, anywhen;
Suffered, strove, became a ghost, slave of the lamp for other men;
For What's-his-name and So-and-so in the abyss his soul he stripped,
Yet in his want, his worst of woe, held he fast to the manuscript.
Then one day as he chewed his pen, half in hunger and half despair,
Creaked the door of his garret den; Dick, his brother, was standing there.
Down on the pallet bed he sank, ashen his face, his voice a wail:
"Save me, brother! I've robbed the bank; to-morrow it's ruin, capture, gaol.
Yet there's a chance: I could to-day pay back the money, save our name;
You have a manuscript, they say, worth a thousand -- think, man! the shame. . . ."
Brown with his heart pain-pierced the while, with his stern, starved face,
and his lips stone-pale,
Shuddered and smiled his twisted smile: "Brother, I guess you go to gaol."
While poor Brown in the leer of dawn wrestled with God for the sacred fire,
Came there a woman weak and wan, out of the mob, the murk, the mire;
Frail as a reed, a fellow ghost, weary with woe, with sorrowing;
Two pale souls in the legion lost; lo! Love bent with a tender wing,
Taught them a joy so deep, so true, it seemed that the whole-world fabric shook,
Thrilled and dissolved in radiant dew; then Brown made him a golden book,
Full of the faith that Life is good, that the earth is a dream divinely fair,
Lauding his gem of womanhood in many a lyric rich and rare;
Took it to Jones, who shook his head: "I will consider it," he said.
While he considered, Brown's wife lay clutched in the tentacles of pain;
Then came the doctor, grave and grey; spoke of decline, of nervous strain;
Hinted Egypt, the South of France -- Brown with terror was tiger-gripped.
Where was the money? What the chance? Pitiful God! . . . the manuscript!
A thousand dollars! his only hope! he gazed and gazed at the garret wall. . . .
Reached at last for the envelope, turned to his wife and told her all.
Told of his friend, his promise true; told like his very heart would break:
"Oh, my dearest! what shall I do? shall I not sell it for your sake?"
Ghostlike she lay, as still as doom; turned to the wall her weary head;
Icy-cold in the pallid gloom, silent as death . . . at last she said:
"Do! my husband? Keep your vow! Guard his secret and let me die. . . .
Oh, my dear, I must tell you now -- the women he loved and wronged was I;
Darling! I haven't long to live: I never told you -- forgive, forgive!"
For a long, long time Brown did not speak; sat bleak-browed in the wretched room;
Slowly a tear stole down his cheek, and he kissed her hand in the dismal gloom.
To break his oath, to brand her shame; his well-loved friend, his worshipped wife;
To keep his vow, to save her name, yet at the cost of what? Her life!
A moment's space did he hesitate, a moment of pain and dread and doubt,
Then he broke the seals, and, stern as fate, unfolded the sheets and spread them out. . . .
On his knees by her side he limply sank, peering amazed -- each page was blank.
(For oh, the supremest of our art are the stories we do not dare to tell,
Locked in the silence of the heart, for the awful records of Heav'n and Hell.)
Yet those two in the silence there, seemed less weariful than before.
Hark! a step on the garret stair, a postman knocks at the flimsy door.
"Registered letter!" Brown thrills with fear; opens, and reads, then bends above:
"Glorious tidings! Egypt, dear! The book is accepted -- life and love."
|
Written by
Frank Bidart |
The only thing I miss about Los Angeles
is the Hollywood Freeway at midnight, windows down and
radio blaring
bearing right into the center of the city, the Capitol Tower
on the right, and beyond it, Hollywood Boulevard
blazing
--pimps, surplus stores, footprints of the stars
--descending through the city
fast as the law would allow
through the lights, then rising to the stack
out of the city
to the stack where lanes are stacked six deep
and you on top; the air
now clean, for a moment weightless
without memories, or
need for a past.
The need for the past
is so much at the center of my life
I write this poem to record my discovery of it,
my reconciliation.
It was in Bishop, the room was done
in California plush: we had gone into the coffee shop, were told
you could only get a steak in the bar:
I hesitated,
not wanting to be an occasion of temptation for my father
but he wanted to, so we entered
a dark room, with amber water glasses, walnut
tables, captain's chairs,
plastic doilies, papier-mâché bas-relief wall ballerinas,
German memorial plates "bought on a trip to Europe,"
Puritan crosshatch green-yellow wallpaper,
frilly shades, cowhide
booths--
I thought of Cambridge:
the lovely congruent elegance
of Revolutionary architecture, even of
ersatz thirties Georgian
seemed alien, a threat, sign
of all I was not--
to bode order and lucidity
as an ideal, if not reality--
not this California plush, which
also
I was not.
And so I made myself an Easterner,
finding it, after all, more like me
than I had let myself hope.
And now, staring into the embittered face of
my father,
again, for two weeks, as twice a year,
I was back.
The waitress asked us if we wanted a drink.
Grimly, I waited until he said no...
Before the tribunal of the world I submit the following
document:
Nancy showed it to us,
in her apartment at the model,
as she waited month by month
for the property settlement, her children grown
and working for their father,
at fifty-three now alone,
a drink in her hand:
as my father said,
"They keep a drink in her hand":
Name Wallace du Bois
Box No 128 Chino, Calif.
Date July 25 ,19 54
Mr Howard Arturian
I am writing a letter to you this afternoon while I'm in the
mood of writing. How is everything getting along with you these
fine days, as for me everything is just fine and I feel great except for
the heat I think its lot warmer then it is up there but I don't mind
it so much. I work at the dairy half day and I go to trade school the
other half day Body & Fender, now I am learning how to spray
paint cars I've already painted one and now I got another car to
paint. So now I think I've learned all I want after I have learned all
this. I know how to straighten metals and all that. I forgot to say
"Hello" to you. The reason why I am writing to you is about a job,
my Parole Officer told me that he got letter from and that you want
me to go to work for you. So I wanted to know if its truth. When
I go to the Board in Feb. I'll tell them what I want to do and where
I would like to go, so if you want me to work for you I'd rather have
you sent me to your brother John in Tonapah and place to stay for
my family. The Old Lady says the same thing in her last letter that
she would be some place else then in Bishop, thats the way I feel
too.and another thing is my drinking problem. I made up my mind
to quit my drinking, after all what it did to me and what happen.
This is one thing I'll never forget as longs as I live I never want
to go through all this mess again. This sure did teach me lot of things
that I never knew before. So Howard you can let me know soon
as possible. I sure would appreciate it.
P.S From Your Friend
I hope you can read my Wally Du Bois
writing. I am a little nervous yet
--He and his wife had given a party, and
one of the guests was walking away
just as Wallace started backing up his car.
He hit him, so put the body in the back seat
and drove to a deserted road.
There he put it before the tires, and
ran back and forth over it several times.
When he got out of Chino, he did,
indeed, never do that again:
but one child was dead, his only son,
found with the rest of the family
immobile in their beds with typhoid,
next to the mother, the child having been
dead two days:
he continued to drink, and as if it were the Old West
shot up the town a couple of Saturday nights.
"So now I think I've learned all I want
after I have learned all this: this sure did teach me a lot of things
that I never knew before.
I am a little nervous yet."
It seems to me
an emblem of Bishop--
For watching the room, as the waitresses in their
back-combed, Parisian, peroxided, bouffant hairdos,
and plastic belts,
moved back and forth
I thought of Wallace, and
the room suddenly seemed to me
not uninteresting at all:
they were the same. Every plate and chair
had its congruence with
all the choices creating
these people, created
by them--by me,
for this is my father's chosen country, my origin.
Before, I had merely been anxious, bored; now,
I began to ask a thousand questions...
He was, of course, mistrustful, knowing I was bored,
knowing he had dragged me up here from Bakersfield
after five years
of almost managing to forget Bishop existed.
But he soon became loquacious, ordered a drink,
and settled down for
an afternoon of talk...
He liked Bishop: somehow, it was to his taste, this
hard-drinking, loud, visited-by-movie-stars town.
"Better to be a big fish in a little pond."
And he was: when they came to shoot a film,
he entertained them; Miss A--, who wore
nothing at all under her mink coat; Mr. M--,
good horseman, good shot.
"But when your mother
let me down" (for alcoholism and
infidelity, she divorced him)
"and Los Angeles wouldn't give us water any more,
I had to leave.
We were the first people to grow potatoes in this valley."
When he began to tell me
that he lost control of the business
because of the settlement he gave my mother,
because I had heard it
many times,
in revenge, I asked why people up here drank so much.
He hesitated. "Bored, I guess.
--Not much to do."
And why had Nancy's husband left her?
In bitterness, all he said was:
"People up here drink too damn much."
And that was how experience
had informed his life.
"So now I think I've learned all I want
after I have learned all this: this sure did teach me a lot of things
that I never knew before.
I am a little nervous yet."
Yet, as my mother said,
returning, as always, to the past,
"I wouldn't change any of it.
It taught me so much. Gladys
is such an innocent creature: you look into her face
and somehow it's empty, all she worries about
are sales and the baby.
her husband's too good!"
It's quite pointless to call this rationalization:
my mother, for uncertain reasons, has had her
bout with insanity, but she's right:
the past in maiming us,
makes us,
fruition
is also
destruction:
I think of Proust, dying
in a cork-linked room, because he refuses to eat
because he thinks that he cannot write if he eats
because he wills to write, to finish his novel
--his novel which recaptures the past, and
with a kind of joy, because
in the debris
of the past, he has found the sources of the necessities
which have led him to this room, writing
--in this strange harmony, does he will
for it to have been different?
And I can't not think of the remorse of Oedipus,
who tries to escape, to expiate the past
by blinding himself, and
then, when he is dying, sees that he has become a Daimon
--does he, discovering, at last, this cruel
coherence created by
"the order of the universe"
--does he will
anything reversed?
I look at my father:
as he drinks his way into garrulous, shaky
defensiveness, the debris of the past
is just debris--; whatever I reason, it is a desolation
to watch...
must I watch?
He will not change; he does not want to change;
every defeated gesture implies
the past is useless, irretrievable...
--I want to change: I want to stop fear's subtle
guidance of my life--; but, how can I do that
if I am still
afraid of its source?
|
Written by
Anne Sexton |
A born salesman,
my father made all his dough
by selling wool to Fieldcrest, Woolrich and Faribo.
A born talker,
he could sell one hundred wet-down bales
of that white stuff. He could clock the miles and the sales
and make it pay.
At home each sentence he would utter
had first pleased the buyer who'd paid him off in butter.
Each word
had been tried over and over, at any rate,
on the man who was sold by the man who filled my plate.
My father hovered
over the Yorkshire pudding and the beef:
a peddler, a hawker, a merchant and an Indian chief.
Roosevelt! Willkie! and war!
How suddenly gauche I was
with my old-maid heart and my funny teenage applause.
Each night at home
my father was in love with maps
while the radio fought its battles with Nazis and Japs.
Except when he hid
in his bedroom on a three-day drunk,
he typed out complex itineraries, packed his trunk,
his matched luggage
and pocketed a confirmed reservation,
his heart already pushing over the red routes of the nation.
I sit at my desk
each night with no place to go,
opening thee wrinkled maps of Milwaukee and Buffalo,
the whole U.S.,
its cemeteries, its arbitrary time zones,
through routes like small veins, capitals like small stones.
He died on the road,
his heart pushed from neck to back,
his white hanky signaling from the window of the Cadillac.
My husband,
as blue-eyed as a picture book, sells wool:
boxes of card waste, laps and rovings he can pull
to the thread
and say Leicester, Rambouillet, Merino,
a half-blood, it's greasy and thick, yellow as old snow.
And when you drive off, my darling,
Yes, sir! Yes, sir! It's one for my dame,
your sample cases branded with my father's name,
your itinerary open,
its tolls ticking and greedy,
its highways built up like new loves, raw and speedy.
|
Written by
Charles Bukowski |
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pur whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
wants to get out
but I'm too clever, I only let him out
at night sometimes
when everybody's asleep.
I say, I know that you're there,
so don't be
sad.
then I put him back,
but he's singing a little
in there, I haven't quite let him
die
and we sleep together like
that
with our
secret pact
and it's nice enough to
make a man
weep, but I don't
weep, do
you?
|
Written by
Sidney Lanier |
I was drivin' my two-mule waggin,
With a lot o' truck for sale,
Towards Macon, to git some baggin'
(Which my cotton was ready to bale),
And I come to a place on the side o' the pike
Whar a peert little winter branch jest had throw'd
The sand in a kind of a sand-bar like,
And I seed, a leetle ways up the road,
A man squattin' down, like a big bull-toad,
On the ground, a-figgerin' thar in the sand
With his finger, and motionin' with his hand,
And he looked like Ellick Garry.
And as I driv up, I heerd him bleat
To hisself, like a lamb: 'Hauh? nine from eight
Leaves nuthin' -- and none to carry?'
And Ellick's bull-cart was standin'
A cross-wise of the way,
And the little bull was a-expandin',
Hisself on a wisp of hay.
But Ellick he sat with his head bent down,
A-studyin' and musin' powerfully,
And his forrud was creased with a turrible frown,
And he was a-wurken' appearently
A 'rethmetic sum that wouldn't gee,
Fur he kep' on figgerin' away in the sand
With his finger, and motionin' with his hand,
And I seed it WAS Ellick Garry.
And agin I heard him softly bleat
To hisself, like a lamb: 'Hauh? nine from eight
Leaves nuthin' -- and none to carry!'
I woa'd my mules mighty easy
(Ellick's back was towards the road
And the wind hit was sorter breezy)
And I got down off'n my load,
And I crep' up close to Ellick's back,
And I heerd him a-talkin' softly, thus:
'Them figgers is got me under the hack.
I caint see how to git out'n the muss,
Except to jest nat'ally fail and bus'!
My crap-leen calls for nine hundred and more.
My counts o' sales is eight hundred and four,
Of cotton for Ellick Garry.
Thar's eight, ought, four, jest like on a slate:
Here's nine and two oughts -- Hauh? nine from eight
Leaves nuthin' -- and none to carry.
'Them crap-leens, oh, them crap-leens!
I giv one to Pardman and Sharks.
Hit gobbled me up like snap-beans
In a patch full o' old fiel'-larks.
But I thought I could fool the crap-leen nice,
And I hauled my cotton to Jammel and Cones.
But shuh! 'fore I even had settled my price
They tuck affidavy without no bones
And levelled upon me fur all ther loans
To the 'mount of sum nine hundred dollars or more,
And sold me out clean for eight hundred and four,
As sure as I'm Ellick Garry!
And thar it is down all squar and straight,
But I can't make it gee, fur nine from eight
Leaves nuthin' -- and none to carry.'
Then I says 'Hello, here, Garry!
However you star' and frown
Thare's somethin' fur YOU to carry,
Fur you've worked it upside down!'
Then he riz and walked to his little bull-cart,
And made like he neither had seen nor heerd
Nor knowed that I knowed of his raskilly part,
And he tried to look as if HE wa'nt feared,
And gathered his lines like he never keered,
And he driv down the road 'bout a quarter or so,
And then looked around, and I hollered 'Hello,
Look here, Mister Ellick Garry!
You may git up soon and lie down late,
But you'll always find that nine from eight
Leaves nuthin' -- and none to carry.'
|
Written by
Julie Hill Alger |
The new war is a week old.
Bombs fall on Baghdad,
missiles on Tel Aviv.
The voice on the radio says
the armament dealers of Europe
are hopeful that a longer war
will be good for business.
They say, as fighting continues
there will be wear and tear
on matériel. Spare parts
must be manufactured,
as well as replacements
for equipment blown apart,
shattered, set afire.
Prudently, the merchants
consult their spreadsheets.
They guard against euphoria
and prepare for a possible
downside to this bonanza:
the Allies are shooting
at their best customer,
Saddam Hussein. If he loses
their market will be depressed.
There is also a danger of
restrictions on sales
to angry dictators. Thus,
the longterm effects of the war
may not all be positive.
|
Written by
Ellis Parker Butler |
Said Statesman A to Statesman Z:
“What can we tax that is not paying?
We’re taxing every blessed thing—
Here’s what our people are defraying:
“Tariff tax, income tax,
Tax on retail sales,
Club tax, school tax,
Tax on beers and ales,
“City tax, county tax,
Tax on obligations,
War tax. wine tax,
Tax on corporations,
“Brewer tax, sewer tax,
Tax on motor cars,
Bond tax, stock tax,
Tax on liquor bars,
“Bridge tax, check tax,
Tax on drugs and pills,
Gas tax, ticket tax,
Tax on gifts in wills,
“Poll tax, dog tax,
Tax on money loaned,
State tax, road tax,
Tax on all things owned,
“Stamp tax, land tax,
Tax on wedding ring,
High tax, low tax,
Tax on everything!”
Said Statesman A to Statesman Z:
“That is the list, a pretty bevy;
No thing or act that is untaxed;
There’s nothing more on which to levy.”
Said Statesman Z to Statesman A:
“The deficit each moment waxes;
This is no time for us to fail—
We will decree a tax on taxes.”
|
Written by
Edgar Lee Masters |
Do you think that odes and sermons,
And the ringing of church bells,
And the blood of old men and young men,
Martyred for the truth they saw
With eyes made bright by faith in God,
Accomplished the world's great reformations?
Do you think that the Battle Hymn of the Republic
Would have been heard if the chattel slave
Had crowned the dominant dollar,
In spite of Whitney's cotton gin,
And steam and rolling mills and iron
And telegraphs and white free labor?
Do you think that Daisy Fraser
Had been put out and driven out
If the canning works had never needed
Her little house and lot?
Or do you think the poker room
Of Johnnie Taylor, and Burchard's bar
Had been closed up if the money lost
And spent for beer had not been turned,
By closing them, to Thomas Rhodes
For larger sales of shoes and blankets,
And children's cloaks and gold-oak cradles?
Why, a moral truth is a hollow tooth
Which must be propped with gold.
|
Written by
Henry Lawson |
I long for the streets but the Lord knoweth best,
For there I am never a saint;
There are lovable characters out in the West,
With humour heroic and quaint;
And, be it Up Country, or be it Out Back,
When I shall have gone to my Home,
I trust to be buried 'twixt River and Track
Where my lovable characters roam.
There are lovable characters drag through the scrub,
Where the Optimist ever prevails;
There are lovable characters hang round the pub,
There are lovable jokers at sales
Where the auctioneer's one of the lovable wags
(Maybe from his "order" estranged),
And the beer is on tap, and the pigs in the bags
Of the purchasing cockies are changed.
There were lovable characters out in the West,
Of fifty hot summers, or more,
Who could not be proved, when it came to the test,
Too old to be sent to the war;
They were all forty-five and were orphans, they said,
With no one to keep them, or keep;
And mostly in France, with the world's bravest dead,
Those lovable characters sleep.
I long for the streets, but the Lord knoweth best,
For there I am never a saint;
There are lovable characters out in the West,
With humour heroic and quaint;
And, be it Up Country, or be it Out Back,
When I shall have gone to my Home,
I trust to be buried 'twixt River and Track
Where my lovable characters roam.
|
Written by
Emily Dickinson |
The Merchant of the Picturesque
A Counter has and sales
But is within or negative
Precisely as the calls --
To Children he is small in price
And large in courtesy --
It suits him better than a check
Their artless currency --
Of Counterfeits he is so shy
Do one advance so near
As to behold his ample flight --
|